0:12 : "Dante and Virgil in the Ninth Circle of Hell" is an evocative painting crafted by the renowned French artist Gustave Doré in the year 1861. This piece, executed in oil on canvas, captures a harrowing scene from Dante Alighieri's epic poem, "The Divine Comedy." The artwork specifically brings to life a moment from the "Inferno," where Dante and his guide, the ancient Roman poet Virgil, delve into the nethermost region of the infernal abyss. In this depiction, Doré has portrayed the duo amidst the chilling landscape of the Ninth Circle, known as Cocytus. Here, the environment is stark and frozen, with the ice symbolizing the ultimate betrayal and treachery of the souls trapped within. The painting shows Dante and Virgil observing these condemned souls, who are depicted as being encased in the icy clutches of Cocytus, stripped bare of any human dignity. Their punishment is so severe that they have resorted to cannibalism, a grim portrayal of their eternal suffering and the depths of human depravity. Doré's use of chiaroscuro enhances the dramatic tension, with the figures emerging from the shadows, highlighting the stark contrast between the light of understanding and the darkness of eternal damnation. 0:25 : "Pandemonium" is a breathtaking oil on canvas masterpiece, brought to life by the visionary English artist John Martin in 1841. In this piece, Martin captures a scene of immense drama and chaos, portraying the very heart of Hell's dark kingdom. The painting showcases Satan, towering and imposing, standing before Pandemonium, the vast and infernal capital of Hell. His figure is bathed in an eerie light, contrasting sharply with the surrounding darkness, giving him an almost otherworldly presence. Behind him, the architecture of Pandemonium rises like a gothic nightmare, its spires and arches twisted into forms that defy earthly logic, suggesting the chaotic creativity of a fallen angel. The canvas is teeming with life, or rather, unlife, as an army of grotesque and varied demonic creatures assembles around their dark lord. These beasts, with their myriad forms-some winged, others scaled or horned-create a tapestry of terror, their eyes glowing with malevolent intent. The atmosphere is thick with the anticipation of war, the air almost vibrating with the energy of their collective malice. This vivid portrayal is deeply inspired by John Milton's epic poem "Paradise Lost," where the concept of Pandemonium first takes shape as the council hall for the fallen angels. Martin's painting thus not only illustrates a moment from Milton's narrative but also amplifies the scale and horror of Hell's governance, making it a visual symphony of darkness and rebellion against the divine order.
0:12 : "Dante and Virgil in the Ninth Circle of Hell" is an evocative painting crafted by the renowned French artist Gustave Doré in the year 1861. This piece, executed in oil on canvas, captures a harrowing scene from Dante Alighieri's epic poem, "The Divine Comedy." The artwork specifically brings to life a moment from the "Inferno," where Dante and his guide, the ancient Roman poet Virgil, delve into the nethermost region of the infernal abyss.
In this depiction, Doré has portrayed the duo amidst the chilling landscape of the Ninth Circle, known as Cocytus. Here, the environment is stark and frozen, with the ice symbolizing the ultimate betrayal and treachery of the souls trapped within. The painting shows Dante and Virgil observing these condemned souls, who are depicted as being encased in the icy clutches of Cocytus, stripped bare of any human dignity.
Their punishment is so severe that they have resorted to cannibalism, a grim portrayal of their eternal suffering and the depths of human depravity. Doré's use of chiaroscuro enhances the dramatic tension, with the figures emerging from the shadows, highlighting the stark contrast between the light of understanding and the darkness of eternal damnation.
0:25 : "Pandemonium" is a breathtaking oil on canvas masterpiece, brought to life by the visionary English artist John Martin in 1841. In this piece, Martin captures a scene of immense drama and chaos, portraying the very heart of Hell's dark kingdom.
The painting showcases Satan, towering and imposing, standing before Pandemonium, the vast and infernal capital of Hell. His figure is bathed in an eerie light, contrasting sharply with the surrounding darkness, giving him an almost otherworldly presence. Behind him, the architecture of Pandemonium rises like a gothic nightmare, its spires and arches twisted into forms that defy earthly logic, suggesting the chaotic creativity of a fallen angel.
The canvas is teeming with life, or rather, unlife, as an army of grotesque and varied demonic creatures assembles around their dark lord. These beasts, with their myriad forms-some winged, others scaled or horned-create a tapestry of terror, their eyes glowing with malevolent intent. The atmosphere is thick with the anticipation of war, the air almost vibrating with the energy of their collective malice.
This vivid portrayal is deeply inspired by John Milton's epic poem "Paradise Lost," where the concept of Pandemonium first takes shape as the council hall for the fallen angels. Martin's painting thus not only illustrates a moment from Milton's narrative but also amplifies the scale and horror of Hell's governance, making it a visual symphony of darkness and rebellion against the divine order.
Bravo 👍👍👍👏👏👏
Great job bro !! 👊
C'est du lourd bro 🤘
Nice brooo❤
Tu as l inspiration yes
Sacrément dark bro !!!
ah ouais, là on est au milieu des ténèbres:)
Tom Araya c’était la bonne planque chez Slayer 😉
c vrai qu'il suivait la guitare la plupart du temps